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Tokyo, David Hockney at the Museum of Contemporary Art Tokyo.. and More


David Hockney at the Museum of Contemporary Art Tokyo

Installation view of “David Hockney” at the Museum of Contemporary Art Tokyo, Tokyo, 2023. From the series “The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven).” © David Hockney. Photo: Kazuo Fukunaga.

The Museum of Contemporary Art Tokyo (MOT) presents a major exhibition by David Hockney (b. 1937) on view through November 5.

Hockney first came to prominence as a student at the Royal College of Art in London and is now one of the most important post-war artists. He has worked in a diverse variety of mediums and fields, producing paintings, photographs, prints, drawings, and stage designs.

The exhibition features more than 120 works, including some of Hockney’s best-known and most recent works. ‘A Lawn Sprinkler (1967),’ ‘Mr and Mrs Clark and Percy (1970-71),’ large-scale landscape series ‘The Arrival of Spring’ are featured, as well as the 90-meter-long iPad painting created during the coronavirus pandemic, ‘A Year in Normandie (2020-21),’ and a series of self-portraits that is unveiled to the public for the first time in the world.

The MOT owns 150 works by Hockney. It is the artist’s largest show in Japan since 1996 when MOT held “David Hockney: Prints 1954 – 1995” shortly after its opening in 1995.


IOAM Museum’s Contemporary Social Diagnostics and Video Art Group Show: "Meaning"

Hsu Che-Yu, ‘Gray Room (still image),’ 2022. VR 360 installation, 16:06 minutes. Image credit: e-flux.

Beijing Inside-Out Art Museum (IOAM) presents “Meaning” through December 3. The show features 15 video works created in a decade from 2012 to the present by 14 international artists and groups.

The exhibition diagnoses the degeneration of thought and art into entertainment and consumerism, and the overlooked importance of true “meaning” beyond subjective interpretation as the urgent contemporary social problem.

The exhibition insists that this trend has its roots in the global expansion of neoliberalism and has accelerated during the past pandemic years, and argues that as critical theory loses its power and conspiracy theories take its place, there is an urgent need for political art that confronts reality.

With this as the primary purpose, the curatorial team selected the participating artists through an extensive review of video works by artists who have been active in East Asia, Southeast Asia, and South America for the past five years. Participating artists include Korakrit Arunanondchai, Jungju An, Adrián Balseca, Musquiqui Chihying, Ekin Kee Charles, Hsu Che-Yu, Rokni Haerizadeh, Shuruq Harb, Ramin Haerizadeh, Sojung Jun, Jung Yoonsuk, Timoteus Anggawan Kusno, Gabriel Mascaro, Erkan Özgen, Hesam Rahmanian, Maya Watanabe.


Chung Chung-Yu Solo Exhibition at TKG+: The Dual Identity of Gallery Worker and Art Maker

Installation view of Chung Chung-Yu’s “Clock In, Clock Out” at TKG+ Projects, Taipei, 2023. Image credit: TKG+ Projects.

Taipei’s TKG+ Projects presents “Clock In, Clock Out,” a solo exhibition by Taiwanese contemporary artist Chung Chung-Yu (b. 1993), through October 7. Chung has been working as an art administrator at TKG+ for many years, managing and helping other artists install their works. At the same time, in his personal life, he has created artworks with the identity of an artist. This exhibition is an attempt for him to strip away his role of administrator and identify himself through art making.

In Chung’s life, the dual identities of administrator and creator interplay. As the administrator of the gallery, he approaches the needs of each exhibition from the perspective of someone who practices art, utilizing his professional skills and experience to help other artists realize their ideals. When he works as an art maker, he uses his familiar materials, wood, cement, and 3D modeling technology for his own creative vision.

Chung uses perspective drawings and 3D modeling software to simulate the composition, and then meticulously applies cement to the wooden panels to create images of the buildings. With precise perspective and the contrast between wood and cement, his work explores the concept of space as well as the tactile qualities of the two-dimensional medium.

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